Salutation to Mother Mani Krishnaswamy. Her rendering of Sri Soundarya Lahari in several ragas is a life time master piece one should hear at least once. I bow before my Ma.
She is a class apart from present musicians, and immortal. Perhaps, very few can surpass her in future. What a great melody in voice and soulful music. Koti Koti Pranamams to Mani Amma,
The "chakkani raja maargamu" mentioned by Sri Thyagaraja Swami is this very song. Its rendering is so mellifluous that after its completion, I am reminded of my own statement: IN OBLIVION LIES BLISS, for some minutes, I was transported into Oblivion.
Superb ! Chakkani raja Ragam: 22 kharaharapriya mela Adi talam Thyagarajar Krithi ‘When the beautiful path to salvation is available, why should you take the by-lanes?’ says Tyagaraja. ‘When thick creamy milk is there’ Is the poet-composer addressing the song to himself or us? He says ‘O Manasa’- ‘O Mind’ so perhaps it is addressed to himself but it is also addressed to to all of us who have strayed from the path of devotion and salvation In this Keertana Tyagaraja expresses that the path of devotion to Rama is the best path to attain supreme bliss. He asks, "why should anyone choose bylanes when there is an excellent high way?" SrI tyAgarAja, exhorts his mind to follow the royal path of devotion and not to go for any short cuts. O mind! When the spacious royal path to salvation is available, why should you take to by-lanes? When nutritious creamy milk is available, will anyone think of detestable toddy Ð Gangasagaram? When you can feast your eyes on the ravishingly beautiful form of SRI RAMA, when LORD SHIVA is eternally chanting the name of SRI RAMA, who has condescended to grace the abode of Tyagaraja, why should you resort to devious and labyrinthine paths instead of the royal path to salvation? Pallavi: Chakkani Raaja Maargamulundaga Sandula Dooraneelee Oh Manasaa! When there is an excellent king's way, why do you go on bylanes? Oh my heart. Anupallavi: Chikkani Paalu Meegada yundaga Cheeyanu Gangaasaagara Mele When there is pure milk and cream, why do you go for the most abhorred liquor? Charanam: Kantiki Sundara Taramagu Roopame, Mukkanti Nota Chelage Naamame Tyagaraajintane Nelakonnaadi Deivamee Yituvanti Sri Saketa Ramuni Bhaktiyane He has the most beautiful appearence. His name is chanted by Siva the three eyed. He is the God that is worshipped at Tyagaraja's home. Devotion to this kind of Saketa Rama is the right path, Oh my heart. Karaharapriya Ragam :- The luxurious pastures of this raga - Kodipalai in ancient Tamizh music; the regal Kharaharapriya in Carnatic music - are evergreen and have stood the test of time for centuries. A sampoorna (complete with all seven notes) raga, this scale takes Sadja, Chatusruti Rishabha, Sadharana Gandhara, Suddha Madhyama, Pancama, Chatusruti Dhaivata, and Kaisikhi Nishada. This raga has symmetrical tetrachords in its scale. The harmonies that are possible in this raga are many and priceless, like the RG-DN or GRS-NDP prayoga. Saint Thyagaraja has composed several masterpieces in this raga, some slow, some fast, some yearning for Rama, some discerning the truths of worldly maya. We have “Chakkaniraja”, “Mitri bhagyame”, “Nadachi nadachi”, “Pakkala nilabadi”, “Kori sevimpa” (one of the Kovur pancharatnas) and many more, each one of them testimony to Kharaharapriya’s divine power. Dikshitar and Shyama Sastri have not composed in this raga. Papanasam Sivan’s “Appan avatharitha”, “Senthil andavan” and “Janakipathe” are immortal, and one cannot forget”Navasiddhi Petralum” of Neelakanta Sivan. One of the earliest appearances of Kharaharapriya was in”Kubera Kuchela”, the song “Nadai alangaram kanden” sung by P U Chinnappa, and composed by Carnatic musician Kunnakudi Venkatrama Iyer. The song went on to become a super-hit and Kharaharapriya became a “happening” raga in film music. In the film “Shakuntalai”, M. S. Subbulakshmi sang “Endhan idathu tholum” laden with brighas and sangatis in Kharaharapriya, and this too was well received among the music lovers. “Maya valaiyil” from “Gulebagavali”, sung by TM Soundararajan, is structured along the lines of “Navasiddhi”. The bright opening heading towards the upper Sadja establishes the raga indubitably. “Ariyaparuvamada” from “Missiamma” is a cute song in this raga sung by P. Leela and tuned by S. Rajeswara Rao. The beginning in Dhaivata and calm landing in the Pancama point clearly to Kharaharapriya. “Enna seidhalum endan thunai neeye” from “Irumbu Thirai” is one of my personal favourites. Composed by S. V. Venkataraman, the song's opening once again highlights the Dhaivata-Nishada combination. “Madhavi pon mayilal” from “Iru Malargal” is one of the most famous pieces in this raga. Composed by MS Viswanathan and sung by TMS, this song begins regally in the upper Gandhara and the phrase culminates with a lovely gamaka at the Nishada. Progressive sangatis, clever structure and deft raga-handling make this song a favourite. “Maharajan ulagai” from “Karnan” by MSV-Ramamurthy is a different approach to Kharaharapriya - subdued, classy, and in tisra-nadai. “Isaiyai Tamizhai” from “Agasthiyar” is a lilting piece in Kharaharapriya. Kunnakudi Vaidhyanathan's music, complemented by the voices of Seerkazhi Govindarajan and T R Mahalingam, makes this complex piece an aural treat. Ilayaraja has composed several pieces in Kharaharapriya, noteworthy of which is “Poo malarndhida” from “Tic Tic Tic”. A slightly westernised presentation, aimed at being a little light-hearted and funny, this song sticks to the grammar of Kharaharapriya. “Sangeeta swarangal” from “Azhagan” composed by Maragathamani is an interesting piece, the phrase “DNP GRGMP” comes as a refrain ushering in a fresh approach to the raga. “Pachai nirame” from “Alaipayuthey” by A R Rahman is largely based on this raga and brings out the romantic, meandering, and relaxing facets of this scale. Recently “Sadhikkatha kangalil” from the film “180”, composed by Sharreth, is a delightful Kharaharapriya. I loved listening to this piece; the typical Keralite percussive instruments giving a traditional flavour to the soft love song. Film songs are aplenty in this scale. The Kafi thaat corresponds to Kharaharapriya raga in Hindustani music.
No that is Smt. Alamelu Mani of Mumbai (disciple of Smt. T. Brinda) who is still very much with us!. the late Smt. Sangeetha Kalanidhi Mani Krishnaswamy (singing here) was a prime disciple of the great Sri Musiri Subramania Iyer and a dignified soul and great musician!
Singer deserves all credits for this exceptional song❤❤❤❤
Mani Krishnaswamy has been lovable all times. Mridangam artist K.R.Ganesh is excellent as always. They make a great combo.
mailsv1234 thanks for your kind words. please contact me at ganeshrajappa@yahoo.com.its my pleasure to speak to you .
Salutations. Great. Very good rendering. 🙏
I remember witnessing this live at Thiruvaiyaru Aradhanai in the early 1990s.
Salutation to Mother Mani Krishnaswamy. Her rendering of Sri Soundarya Lahari in several ragas is a life time master piece one should hear at least once. I bow before my Ma.
Very beautifully melodiously sung
Great singer !
She should have been celebrated just as much as the Female trinity Of carnatic music ..She is MSS AND MLV rolled into one !!!❤
Good marvellous melodious music collection
Excellent rendition with great accompaniments ✌️Radhe Krishna
She is a class apart from present musicians, and immortal. Perhaps, very few can surpass her in future. What a great melody in voice and soulful music. Koti Koti Pranamams to Mani Amma,
What an excellent rendition of my fav song by manni amma.
She is a legend and can never be forgettn :')
Great Krithi... Incredible rendering. We have heard this clip several dozens of times.. Thanks for uploading.
What a voice 🙏🙏
This is a good clip! previously i have heard mani krishnaswamy's rendering of daya shatakam.
The "chakkani raja maargamu" mentioned by Sri Thyagaraja Swami is this very song. Its rendering is so mellifluous that after its completion, I am reminded of my own statement: IN OBLIVION LIES BLISS, for some minutes, I was transported into Oblivion.
Good team! Nice rendition
beautiful song rendered by the vocal genius Shrimathi. Mani krishnasamy.
Thanks
Madam please accept my complements. Beautiful singing.
Very good songs
Super 👌 good
Lyrics --- karnATik
பல்லவி
cakkani rAja mArgamu lunDaga sandula dUranela O manasA
anupallavi
cikkani pAlu mIgada unDaga chIyanu gangA sAgara mElE
caraNam
kanTiki sundaramagu rUpamE mukkaNTi nOTa celagE nAmamE tyAgarAjintanE nelakonnadi daivamE iTuvaNTi shrI
sAkEta rAmunimuni bhaktiyanE
exellent vocal by mani krishnaswami the krithi of thyagaraja
Great
Very pleasing.
Do you have any recordings of her singing Pahi Rama in Yadukula Kambothi ?
Mani Krishnaswamy ROCKS!!!
Great rendering !!
🙏🙏
remembering the faultless gambheeram of Shrimathi Mani Krishnaswamy _/|\_
beautiful!!!
great VIDHUSHI at her best
Mani is no more. She passed away
Raga --- Karaharapriya
Nice
very nice..
Superb !
Chakkani raja Ragam: 22 kharaharapriya mela Adi talam Thyagarajar
Krithi
‘When
the beautiful path to salvation is available, why should you take the by-lanes?’ says Tyagaraja. ‘When
thick creamy milk is there’ Is the poet-composer addressing
the song to himself or us? He says ‘O Manasa’- ‘O
Mind’ so perhaps it
is addressed to himself but it is also addressed to to all of us who have
strayed from the path of devotion and salvation
In this
Keertana Tyagaraja expresses that the path of devotion to Rama is the best path
to attain supreme bliss. He asks, "why should anyone choose bylanes when
there is an excellent high way?" SrI
tyAgarAja, exhorts his mind to follow the royal path of devotion and not to go
for any short cuts.
O mind! When the spacious royal path to salvation is
available, why should you take to by-lanes? When nutritious creamy milk is
available, will anyone think of detestable toddy Ð Gangasagaram? When you can
feast your eyes on the ravishingly beautiful form of SRI RAMA, when LORD SHIVA
is eternally chanting the name of SRI RAMA, who has condescended to grace the
abode of Tyagaraja, why should you resort to devious and labyrinthine paths
instead of the royal path to salvation?
Pallavi:
Chakkani Raaja Maargamulundaga
Sandula Dooraneelee Oh Manasaa!
When there is an excellent king's way, why do
you go on bylanes? Oh my heart.
Anupallavi:
Chikkani Paalu Meegada yundaga
Cheeyanu Gangaasaagara Mele
When there is pure milk and cream, why do you
go for the most abhorred liquor?
Charanam:
Kantiki Sundara Taramagu Roopame,
Mukkanti Nota Chelage Naamame
Tyagaraajintane Nelakonnaadi Deivamee
Yituvanti Sri Saketa Ramuni Bhaktiyane
He has the most beautiful appearence.
His name is chanted by Siva the three eyed.
He is the God that is worshipped at
Tyagaraja's home.
Devotion to this kind of Saketa Rama is the
right path, Oh my heart.
Karaharapriya Ragam :- The luxurious
pastures of this raga - Kodipalai in ancient Tamizh music; the regal
Kharaharapriya in Carnatic music - are evergreen and have stood the test of
time for centuries. A sampoorna (complete with all seven notes) raga, this
scale takes Sadja, Chatusruti Rishabha, Sadharana Gandhara, Suddha Madhyama,
Pancama, Chatusruti Dhaivata, and Kaisikhi Nishada. This raga has symmetrical
tetrachords in its scale. The harmonies that are possible in this raga are many
and priceless, like the RG-DN or GRS-NDP prayoga.
Saint Thyagaraja has composed several masterpieces in this raga, some
slow, some fast, some yearning for Rama, some discerning the truths of worldly
maya. We have “Chakkaniraja”, “Mitri bhagyame”, “Nadachi nadachi”, “Pakkala
nilabadi”, “Kori sevimpa” (one of the Kovur pancharatnas) and many more, each
one of them testimony to Kharaharapriya’s divine power. Dikshitar and Shyama
Sastri have not composed in this raga. Papanasam Sivan’s “Appan avatharitha”,
“Senthil andavan” and “Janakipathe” are immortal, and one cannot
forget”Navasiddhi Petralum” of Neelakanta Sivan.
One of the earliest appearances of Kharaharapriya was in”Kubera Kuchela”,
the song “Nadai alangaram kanden” sung by P U Chinnappa, and composed by
Carnatic musician Kunnakudi Venkatrama Iyer. The song went on to become a
super-hit and Kharaharapriya became a “happening” raga in film music. In the
film “Shakuntalai”, M. S. Subbulakshmi sang “Endhan idathu tholum” laden with
brighas and sangatis in Kharaharapriya, and this too was well received among
the music lovers.
“Maya valaiyil” from “Gulebagavali”, sung by TM Soundararajan, is
structured along the lines of “Navasiddhi”. The bright opening heading towards
the upper Sadja establishes the raga indubitably. “Ariyaparuvamada” from
“Missiamma” is a cute song in this raga sung by P. Leela and tuned by S.
Rajeswara Rao. The beginning in Dhaivata and calm landing in the Pancama point
clearly to Kharaharapriya.
“Enna seidhalum endan thunai neeye” from “Irumbu Thirai” is one of my
personal favourites. Composed by S. V. Venkataraman, the song's opening once
again highlights the Dhaivata-Nishada combination.
“Madhavi pon mayilal” from “Iru Malargal” is one of the most famous
pieces in this raga. Composed by MS Viswanathan and sung by TMS, this song
begins regally in the upper Gandhara and the phrase culminates with a lovely
gamaka at the Nishada. Progressive sangatis, clever structure and deft
raga-handling make this song a favourite.
“Maharajan ulagai” from “Karnan” by MSV-Ramamurthy is a different
approach to Kharaharapriya - subdued, classy, and in tisra-nadai. “Isaiyai
Tamizhai” from “Agasthiyar” is a lilting piece in Kharaharapriya. Kunnakudi
Vaidhyanathan's music, complemented by the voices of Seerkazhi Govindarajan and
T R Mahalingam, makes this complex piece an aural treat.
Ilayaraja has composed several pieces in Kharaharapriya, noteworthy of
which is “Poo malarndhida” from “Tic Tic Tic”. A slightly westernised
presentation, aimed at being a little light-hearted and funny, this song sticks
to the grammar of Kharaharapriya. “Sangeeta swarangal” from “Azhagan” composed
by Maragathamani is an interesting piece, the phrase “DNP GRGMP” comes as a
refrain ushering in a fresh approach to the raga.
“Pachai nirame” from “Alaipayuthey” by A R Rahman is largely based on
this raga and brings out the romantic, meandering, and relaxing facets of this
scale. Recently “Sadhikkatha kangalil” from the film “180”, composed by
Sharreth, is a delightful Kharaharapriya. I loved listening to this piece; the
typical Keralite percussive instruments giving a traditional flavour to the
soft love song.
Film songs are aplenty in this scale. The Kafi thaat corresponds to
Kharaharapriya raga in Hindustani music.
She is the mother of Hariharan, right?
No that is Smt. Alamelu Mani of Mumbai (disciple of Smt. T. Brinda) who is still very much with us!. the late Smt. Sangeetha Kalanidhi Mani Krishnaswamy (singing here) was a prime disciple of the great Sri Musiri Subramania Iyer and a dignified soul and great musician!